![]() ![]() On their debut, Bungle constructed a pristine prog carnival that jumped from one twisted vignette to the next like a nightmare horror theater. ![]() Bungle is the musical equivalent of a David Lynch movie,” and proved beyond a shadow of a doubt that the pestiferous pricks who wrote Bloody Mary and The Girls of Porn could, in fact, grow up. Bungle’s 1995 self-produced sophomore album Disco Volante, they deliver a record which led AllMusic to write, “Mr. Like the works of Lynch, Bungle’s albums have many surface-level oddities and idiosyncrasies that draw you in and make you curious to digest their more enigmatic qualities and themes, and like Lynch, Patton is a big believer that his work should speak for itself. The two are very much kindred spirits, shitting all over the rules of their respective medium and achieving an impressive level of popular acclaim despite bringing to life their uncompromising creative vision in a way that resists the analysis of a mainstream audience. Bungle record and covering Angelo Badalamenti’s incredible main theme from Twin Peaks: Fire Walk With Me on his 2001 album with Fantômas, Mike Patton has become well known for his admiration of legendary experimental filmmaker David Lynch. Bungle emerged, pairing the original trio of Dunn, Patton and Spruance with Anthrax’s Scott Ian and former Slayer drummer Dave Lombardo for a proper release of the Eureka-bred band’s unreleased demo, The Raging Wrath of the Easter Bunny.Between sampling his films on the first Mr. What is true is that they took 20 years off from performing under said moniker while they pursued various other musics that, in contrast, paid the rent. Some argue that the band subsequently broke up but there is also no proof of this. Bungle in 1991, Disco Volante in 1995 and California in 1999), toured a good portion of the Western hemisphere and avoided any sort of critical acclaim. Up until 2000 they released three albums ( Mr. No one really knows how this happened and it remains a complete mystery that even the algorithms of the internet can’t decode. Trey Spruance, Mike Patton and Trevor Dunn beget the amorphous “band” in 1985 up in Humboldt County, Calif., sifting through a variety of members until 1988 when drummer Danny Heifetz and saxophonist Bär McKinnon joined the group. Bungle was formed in an impoverished lumber and fishing town by a trio of curious, volatile teenagers. Up until now, no one but the four of us have heard this recently unarchived weirdness.” What we offer here is one of several ‘movements’ from a spontaneous sound narrative that spans over an hour. Trey and I were in the ‘control room’ with keyboards and outboard gear, as well as total ‘knob control.’ It totally did in this case facilitated better communication than usual.”ĭunn continues, “Patton and Heifetz were in the ‘sound room’ with a multitude of instruments within reach. Trey Spruance, who often engineered these chaotic recordings, recalls: “I remember wanting to enhance audio separation and isolation to an extreme, using a kind of ‘musique concrète live mix’ approach, hoping that would capture the unruly individual spirits of our improvisation more faithfully. Often there was an ADAT machine ready to go for any spontaneous outbursts (think ‘Nothing’ from the end of Disco Volante), but we tested out various setups at our disposal.” ![]() “Endless days and nights were spent in there experimenting, improvising and piecing together what would be our ‘sophomore attempt’ among other gems. ![]() “During the Disco Volante writing sessions in a place we called The Shotwell Bomb Factory, San Francisco, we were blessed with an isolated & independent place to record and rehearse,” explains Trevor Dunn. ![]()
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